An approach to radio dramatized script

Break the ice, write the first organic words, begin the story telling and doing it well, direct and elegant, safe surfing in the imagination of those who know the value of good written word, a linguistic turn that can leave the text flying through the air. The art of writing is quite good it difficult if not added factors varied order. That phrase is heard so much anywhere and by countless warning purposes and is born writer, poet, painter, actor, engineer, scientist, mathematician, highly complex, and so on., It would, without doubt, one of the decisive factors possible addition to mastering the technique to execute the gift that no one knows for sure who gave it (on paper or in the spiritual world tangled lost in distant generations genes or not). It means the gift and the technology.

In the Cuban Radio has been and are and will continue into the future verb writers dramatized excellent hearing so many soap operas from the initial drag (accept the term) to scripts more carefree and daring to tell the stories. And there a point to keep in mind: a story…. To put it in the name of a program that Radio Rebelde hung in the air in the 70s of the twentieth century: In the beginning was (referring to a story, course) excellent program which perform two indispensable voices of the Cuban Radio.

Ana Margarita Gil and Hector Fraga, and that he had (I say) with scripts that I wrote with absolute desire for knowledge, because it was closer to the start of crucial inventions for the practical development of human life, great works of literature … and all that which was marked by the first (worth the beginning of a story). Well, friends and dear readers, the stories have a first page, as the blank page of which we spoke. A story that must be added into the script of the radio soap opera central conflict that can develop in their coming and going, between epochal situations and characters, in actions that, in turn, marked money that are indispensable for moving from beginning to order to permanently strengthen the listener’s interest in that get caught up the next chapter. This should be set to a time consistent with nuances that do not mislead the listener’s attention.

Moreover, when we listen to (which is not the same as listening) a historical novel or non-radial, an adventure, a story, a play, a witness or a police proposal, is necessary, as no doubt the game rule, the building believable characters and to place a distance between each other. The difference in the design and depth of each character and resize the script draws the radio dramatization allowing better organization in the development of history itself. Believable characters are the real, like life itself.

Let us pause to recapitulate the above: a history, a central conflict, actions that turns upward move in the development of the story in his can come and go, consistency in the treatment of time and consideration of the proposal’s dramatic tying the listener to it , offering absolutely believable characters (well designed physically and psychologically), differentiated from each other and solving them with literary and theatrical mastery.

So what would it take?

A good soap opera has to keep that which is known as interest rate curve and that it can provide necessary mystery suspense when handled with intelligence and depth to develop its multiple dimensions. And that road leads to what in the dramatized Radio acquires the connotation of great interest: a language accessible to the listener, to say the exact best in imagination to what is being told. Sometimes, words confused by the reiteration of their expressions and how to combine them into a paragraph or a snack, either on the same character or narrator in the classic, which, incidentally, has changed considerably in these decades of history radial in our country, making obsolete narrator repeating that over and over again, what was already known to exhaustion. 

Now I remember as a kind of radio drama explaining to my students the following about this matter. If you put in the mouth of a character that says I’m a sandwich faint, should not interrupt the action is heard in voice-over by adding something like I was faint, of course, if the writer is not developing a narrator character to reiterate he says a particular character in a scene to provoke a dialogue or description to insist on the same quest for new elements in the design of radio dramatization. The audacity dramaturgical well used can be used when mastered. In some of my novels written for Radio developed the character-narrator which gave me endless possibilities in the development of history itself. So have successful other important writers of our country that have given luster to pages unforgettable sound.

The issue that we have, not one could argue otherwise, other important characteristics that could nurture the artistic realization of the dramatization itself. This is exemplified with topics ranged from the allocation of the staging to consulting and general management without obviating the ambience sound very difficult when it comes to reaching the final product quality that must, as I respect most, who listens to us every day.

When talking about the selection of a  to be accountable to embody the characters in any novel of Radio should be taken into account a variety of factors that we are cradled in advance the success of the project. The first is to designate actors capable of embodying the psychology of the characters, modulating his psychology at the microphone, along with a timbre that dignify, without entailing go against the historical truth (especially in programming, where it alludes to passages of the lives of historical figures in any country and time). The historical figures should be interpreted as they were; if possible, the design of a voice breaks. Of course, it could be a case of a character in this important talk with recognized defects (gagos, for example) that must be considered in its true dimension.

This happens in the first instance by the adviser (a) who, in depth, you should consider the project, chapter by chapter, from a large number of aspects including reflection period, the construction of non-static characters, language, drama the story development through conflict traveling through the beginning, middle, and the outcome, maintaining an interest rate curve with solid settlements.

Finally, the project will be in the hands of the director, the chief art of what happens with the script dramatized in its many genres. And of course, a good director, from the cast selection to complete transmission of the radio product, is who leads the large orchestra with his magic wand, read artistry that goes from an initial reading of the work thoroughly up to a good radial daily desk job ends when the listener tunes in the space to indulge in the history in question, walking down that tightrope, and rather complicated which means taking into account the time of each chapter, the sleepless nights because the proceedings are rigorous and that leave memory traces radial and sonorous setting times and due attention to environmental circumstances in which the characters are developed (effects and music).

Readers appreciate the complexities surrounding the entire dramatized script that begins in the writer’s blank page. It is a building that began its construction after the desirable and inevitable stage of research the author of the work to be done with any rigor. We return to the initial idea: a gift and technology.

Neither had we discussed everything. There are more details. It’s just an attempt to help shake off the dust of the road for an allergy is very difficult. The radio drama is art. And art requires the expertise (gift and art) of a bold attempt, also chapter to chapter. Fortunately, in Cuba dramatized radio makes progress and deepened by new roads in accordance with their strong scents. It is well known in Cuba and Latin American area that always said the first ounces from our Caribbean archipelago and essential to the mark of an endless paradigm.

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